BIT AMOUNT OR USED TECHNIQUE - WHAT IS MOST IMPORTANT ?
I have a lot of music in all formats and resolutions.
I also have a very good sound system, which is individually adapted part by part, and each single speaker unit has been modified to fit the rest.
And all of this is of course adapted to the acoustics of the room, which in turn is modified with simple means to retain a certain acoustics, but without standing waves.
I have played a lot of my music for over 40 years with many different sound systems in different formats and resolutions; sound systems with amplifiers of all kinds, speakers of almost all kinds, and media such as everything from cassette to HiFi video, tape recorder, vinyl, CD/SACD and DAC; digital formats of all types and resolutions.
So I know very well how different my music can sound, what is bad or good, and why.
Although the CD format was launched in 1983, I couldn't stand its sound quality, and got my first CD player in 1994.
CD was still clearly better than Mp3, but SACD was many levels better than CD.
But not always.
A good example is Dire Straits' albums, which I have had in all formats.
The strange thing is that although the details are clearer in SACD format, the recordings are victims of digital techniques; they are by no means of the best quality when it comes to recording techniques.
Digital techniques use a lot of shortcuts, removing all natural acoustics and adding them artificially at the end.
Everything is rigged, including the number of microphones and their placement.
It is an indisputable fact that my best music was recorded BEFORE the digital age, WITHOUT all the rigging that this entails.
So here I am today, with some of the best digital equipment available, just to play high-resolution music that is lousy recorded and edited.
Most of my best music is music that was recorded ANALOGUE, and later digitized with only 16 bit resolution, as the recording technique used is that gives the actual fidelity, and not the resolution.
Digital recordings are only getting worse and worse as new effects minimize the basic work.
I have a lot of music in all formats and resolutions.
I also have a very good sound system, which is individually adapted part by part, and each single speaker unit has been modified to fit the rest.
And all of this is of course adapted to the acoustics of the room, which in turn is modified with simple means to retain a certain acoustics, but without standing waves.
I have played a lot of my music for over 40 years with many different sound systems in different formats and resolutions; sound systems with amplifiers of all kinds, speakers of almost all kinds, and media such as everything from cassette to HiFi video, tape recorder, vinyl, CD/SACD and DAC; digital formats of all types and resolutions.
So I know very well how different my music can sound, what is bad or good, and why.
Although the CD format was launched in 1983, I couldn't stand its sound quality, and got my first CD player in 1994.
CD was still clearly better than Mp3, but SACD was many levels better than CD.
But not always.
A good example is Dire Straits' albums, which I have had in all formats.
The strange thing is that although the details are clearer in SACD format, the recordings are victims of digital techniques; they are by no means of the best quality when it comes to recording techniques.
Digital techniques use a lot of shortcuts, removing all natural acoustics and adding them artificially at the end.
Everything is rigged, including the number of microphones and their placement.
It is an indisputable fact that my best music was recorded BEFORE the digital age, WITHOUT all the rigging that this entails.
So here I am today, with some of the best digital equipment available, just to play high-resolution music that is lousy recorded and edited.
Most of my best music is music that was recorded ANALOGUE, and later digitized with only 16 bit resolution, as the recording technique used is that gives the actual fidelity, and not the resolution.
Digital recordings are only getting worse and worse as new effects minimize the basic work.
Shared knowledge provides increased knowledge
If we all share everything we have, we all have everything
Every theory is only a hypothesis until it is practically proven
KEYBOARDS, SYNTHS & MODULES I HAVE HAD AND HAVE
Casio CTK 811-ex ||| Roland EXR-7 76 ||| Yamaha DGX-620 ||| Yamaha PSR-550 ||| Yamaha PSR-S700 ||| Korg Pa800 ||| Korg Pa3X 61 ||| Deebach XMS-Pro ||| Ketron Ajamsonic ||| Casio WK-7500 ||| Yamaha Tyros5 61 ||| vArranger ||| Ketron Audya5 61 ||| Yamaha PSR S950 ||| Solton X8 Chromatic ||| Yamaha Tyros4 10th Anniversary ||| Korg Pa4X 61 ||| Roland BK-7m ||| Technics KN-6000 ||| Technics KN-7000 ||| Roli Seaboard RISE 49 ||| Deebach MAX Plus ||| Yamaha Genos ||| Korg Pa700 ||| Korg Kronos2 73 ||| Tyros4 61 ||| Deebach BlackBox ||| Korg Pa2X Pro ||| Yamaha A3000 ||| Ghenos Plus ||| Medeli AKX10 ||| Korg Nautilus 73 ||| Yamaha DGX-670 ||| Korg Krome EX-88 ||| Korg OASYS 76 Sondius-XG version ||| Korg Pa5X 76 (Pythagoras Tuned) ||| Yamaha Tyros1 ||| Ketron Audya 76 (Own developed OS) ||| Yamaha PSR-3000 ||| Yamaha 9000 Pro ||| Yamaha MODX M8 ||| Korg Grandstage X ||| Roland Juno-D7 ||| Korg Kronos 1 73 (Pythagoras Tuned)
MY PA EQUIPMENT NON-ACTIVE AND ACTIVE
Aune S6 32 bit/384 kb DAC ||| Topping USB Isolator ||| MOTU 32 bit Audio Interface ||| TEYUN Q26 32 bit/384 kb Audio Interface ||| FM Acoustics FM 300A Power amp ||| FM Acoustics FM 255 Resolution Series Pre amp ||| MBL 6010 Pre Amp ||| STAX SR-L300 (Lambda) electrostatic headphones with STAX SRM-252S Amplifier ||| beyerdynamic T70 headphones (without pads) ||| Baffle horns equipped with Seas Exotic 8" fullrange units ||| JBL horns with Compression Planar membranes ||| Fountek NeoPro 5i (Special Edition) ribbon tweeters with Compression Planar membranes ||| Hexagonal subwoofer with 12 pieces Push&Pull coupled Seas Prestige 8" units, 1 item 10" slave unit and built-in XTZ power amplifiers & Cambridge Azur 640A as pre amplifier ||| Yamaha HS-5 active monitors connected to all keyboards
If we all share everything we have, we all have everything
Every theory is only a hypothesis until it is practically proven
KEYBOARDS, SYNTHS & MODULES I HAVE HAD AND HAVE
Casio CTK 811-ex ||| Roland EXR-7 76 ||| Yamaha DGX-620 ||| Yamaha PSR-550 ||| Yamaha PSR-S700 ||| Korg Pa800 ||| Korg Pa3X 61 ||| Deebach XMS-Pro ||| Ketron Ajamsonic ||| Casio WK-7500 ||| Yamaha Tyros5 61 ||| vArranger ||| Ketron Audya5 61 ||| Yamaha PSR S950 ||| Solton X8 Chromatic ||| Yamaha Tyros4 10th Anniversary ||| Korg Pa4X 61 ||| Roland BK-7m ||| Technics KN-6000 ||| Technics KN-7000 ||| Roli Seaboard RISE 49 ||| Deebach MAX Plus ||| Yamaha Genos ||| Korg Pa700 ||| Korg Kronos2 73 ||| Tyros4 61 ||| Deebach BlackBox ||| Korg Pa2X Pro ||| Yamaha A3000 ||| Ghenos Plus ||| Medeli AKX10 ||| Korg Nautilus 73 ||| Yamaha DGX-670 ||| Korg Krome EX-88 ||| Korg OASYS 76 Sondius-XG version ||| Korg Pa5X 76 (Pythagoras Tuned) ||| Yamaha Tyros1 ||| Ketron Audya 76 (Own developed OS) ||| Yamaha PSR-3000 ||| Yamaha 9000 Pro ||| Yamaha MODX M8 ||| Korg Grandstage X ||| Roland Juno-D7 ||| Korg Kronos 1 73 (Pythagoras Tuned)
MY PA EQUIPMENT NON-ACTIVE AND ACTIVE
Aune S6 32 bit/384 kb DAC ||| Topping USB Isolator ||| MOTU 32 bit Audio Interface ||| TEYUN Q26 32 bit/384 kb Audio Interface ||| FM Acoustics FM 300A Power amp ||| FM Acoustics FM 255 Resolution Series Pre amp ||| MBL 6010 Pre Amp ||| STAX SR-L300 (Lambda) electrostatic headphones with STAX SRM-252S Amplifier ||| beyerdynamic T70 headphones (without pads) ||| Baffle horns equipped with Seas Exotic 8" fullrange units ||| JBL horns with Compression Planar membranes ||| Fountek NeoPro 5i (Special Edition) ribbon tweeters with Compression Planar membranes ||| Hexagonal subwoofer with 12 pieces Push&Pull coupled Seas Prestige 8" units, 1 item 10" slave unit and built-in XTZ power amplifiers & Cambridge Azur 640A as pre amplifier ||| Yamaha HS-5 active monitors connected to all keyboards


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